DENISON'S ACTING PLAYS 

Partial List of Successful and Popular Plays. Large Catalogue Free. 
Price 15c each. Postpaid, Unless Different Price Is Given 



DRAMAS, COMEDIES, 
ENTERTAINMENTS, Etc. 

M. F. 

Aaron Boggs, Freshman, 3 

acts, ly-i hrs (25c) 8 8 

Abbu San of Old Japan, 2 acts, 

2 hrs (25c) 15 

After the Game, 2 acts, 1^ 

hrs (25c) 1 9 

All a Mistake, 3 acts, 2 hrs. 

(25c) 4 4 

All on Account of Polly, 3 acts, 

214 hrs (25c) 6 10 

American Hustler, 4 acts, lYz 

hrs (25c) 7 4 

As a Woman Thinketh, 3 acts, 

2y2 hrs (25c) 9 7 

At the End of the Rainbow, 3 

acts, 214 hrs (25c) 6 14 

Bank Cashier, 4 acts, 2 hrs. 

(25c) 8 4 

Black Heifer, 3 acts, 2 h. -(25c) 9 3 
Boy Scout Hero, 2 acts, 1^ hrs. 

(25c) 17 

Brookdale Farm, 4 acts, 2J4 

hrs (25c) 7 3 

Brother Josiah, 3 acts, 2 hrs. 

(25c) 7 4 

Burns Rebellion, 1 hr (25c) 8 5 

Busy Liar, 3 acts, 2^4 h. (25c) 7 4 
Civil Sendee, 3 acts, ly^ hrs. 

(25c) 6 5 

College Town, 3 acts, 2^ 

hrs (25c) 9 8 

Danger Signal, 2 acts, 2 hrs.. 7 4 
Daughter of the Desert, 4 

acts, 2^ hrs (25c) 6 4 

Deacon Dubbs, 3 acts, 2^ hrs. 

(25c) 5 5 

Deacon Entangled, 3 acts, 2 hrs. 

(25c) 6 4 

Down in Dixie, 4 acts, 2 '4 

hrs (25c) 8 4 

Dream That Came True, 3 

acts, 254 hrs (25c) 6 13 

Editor-in-Chief, 1 hr....(25c) 10 
Enchanted Wood, \y^ h.(35c).Optnl. 
Everyyouth, 3 acts, 1 >1 h. (25c) 7 6 
Face at the Window, 3 acts, 2 

hrs (25c) 4 4 

Fun on the Podunk Limited, 

Wz hrs (25c) 9 14 

Heiress of Hoetown, 3 acts, 2 

hrs (2Sc) 8 4 

Her Honor, the Mayor, 3 acts, 

2 hrs. (25c) 3 5 

High School Freshman, 3 acts, 

2 hrs (25c) 12 

Honor of a Cowboy, 4 acts, ly^ 

hrs (25c) 13 4 

Indian Days, 1 hr (50c) 5 2 



M. F. 

In Plum Valley, 4 acts, ly^ 

hrs (25c) 6 4 

Iron Hand, 4 acts, 2 hrs.. (25c) 5 4 
Jayville Junction, l^/^ hrs. (25c) 14 17 
Kicked Out of College, 3 acts, 

21/4 hrs (25c)10 9 

Kingdom of Heart's Content, 3 

acts, 2^ hrs (25c) 6 12 

Laughing Cure, 2 acts, 1^ hrs. 

(25c) 4 5 

Lexington, 4 acts, 2^4 h. .(25c) 9 4 
Little Buckshot, 3 acts, 2^ hrs. 

(:5c) 7 4 

Lodge of Kye Tyes, 1 hr. (25c)13 
Man from Borneo, 3 acts, 2 

hrs (25c) 5 2 

Mirandy's Minstrels (25c) Optnl. 

Mrs. Tubbs of Shantytown, 3 

acts, 214 hrs (25c) 4 7 

New Woman, 3 acts, 1 hr.... 3 6 
Old Maid's Club, 1^ hrs. (25c) 2 16 
Old Oaken Bucket, 4 acts, 2 

hrs (25c) 8 6 

Old School at Hick'ry Holler, 

1^ hrs (25c) 12 9 

On the Little Big Horn, 4 acts, 

21^ hrs. (25c) 10 4 

Out in the Streets, 3 acts, 1 hr. 6 4 
Parlor Matches, 2 acts, 1}^ hrs. 

(25c) 4 5 

Poor Married Man, 3 acts, 2 

hrs (25c) 4 4 

Prairie Rose, 4 acts, 2^ h.(25c) 7 4 

Rummage Sale, 50 min 4 10 

Rustic Romeo, 2 acts, 2^ 

hrs (25c) 10 12 

Savageland, 2 acts, 2^ hrs. (50c) 5 5 
School Ma'am, 4 acts, 1^4 '^''s. 6 5 
Scrap of Paper, 3 acts, 2 hrs.. 6 6 
Sewing for the Heathen, 40 min. 9 
Southern Cinderella, 3 acts, 2 

hrs (25c) 7 

Star Bright, 3 acts, 2y2 h. (''5c) 6 5 
Teacher, Kin I Go Home? 2 

scenes, 35 min 7 3 

Those Dreadful Twins, 3 acts, 

2 hrs (25c) 6 4 

Thread of Destiny, 3 acts, 2^ 

hrs (25c) 9 16 

Tony, the Convict, 5 acts, 2 '4 

hrs (25c) 7 4 

Town Marshal, 4 acts, 214 

hrs (25c) 6 3 

Trial of Hearts, 4 acts, 254 hrs. 

(25c) 6 18 

Trip to Storyland, 1^4 hrs. (25c) 17 23 
Uncle Josh, 4 acts, 2 J4 hrs. (25c) 8 3 
Under Blue Skies, 4 acts, 2 

hrs (25c) 7 10 

Under the Laurels, 5 acts, 2 hrs. 6 4 
When the Circus Came to 

Town, 3 acts, 2J4 hrs. (25c) 5 3 



T.S.DENISON & COMPANY,Publishers.154W. Randolph St.. Chicago 



HER FIRST SCOOP 



A COMEDY IN ONE ACT 



BY 

LINDSEY BARBEE 

u 

AUTHOR OF 

'After the Game," "At the End of the Rainboi^'," "The Dream That 
Came True ""The Fifteenth of January," "Then Greek Met Greek," 
"The Kingdom of Heart's Content," "The Promise of To- 
morrow," "Sing a Song of Seniors," "The Thread of 
Destiny," "Tomorrozv at Ten," "A Trial of Hearts," 
"When the Clock Strikes Twelve," "The Whole 
Truth," "In the College Days," "Little Men 
and Women in Stageland," etc. 




• CHICAGO 
T. S. DENISON & COMPANY 
Publishers 



HER FIRST SCOOP ^ 

CHARACTERS. • H ^ • 



STANLEY Lee A Young Millionaire 

Ruth King '. | Reporters on the Staff of 

Madge Mas/shall J The Morning Star. 

Maggie : , .A Maid 



Place — One End of a Tea Room on a Rainy Afternoon, 



Time — The Present. 



Time of Playing — About Forty-five Minutes. 



COPYRIGHT, 1917, BY E^EN H. NORRIS. 

APR 18 1917 OCID 46692 



HER FIRST SCOOP 



STORY OF THE PLAY. 



Ruth King and Madge Marshall, clever young reporters 
on a daily paper, meet on a rainy afternoon at a tea room. 
Ruth, who is on the lowest round of the journalistic ladder, 
confides to her companion that an opportunity for promo- 
tion has at last presented itself in the shape of a particular 
assignment, but adds that she has failed to land the "scoop." 
She relates her fruitless attempt to gain an interview with 
Stanley Lee, a young millionaire, who is in the city on an 
interesting mission, namely, the disposal of a large si/m 
bequeathed to the community by his father, and is in despair 
because she has not succeeded in her quest. Madge assures 
her that stratagem is a reporter's best asset, and with this 
advice leaves her. While waiting for her order to be filled, 
Ruth, wanders to the window, and as she gazes out abstract- 
edly sees the object of her thoughts, the elusive millionaire. 
For a moment she hesitates, then asks the maid who has 
brought in her tea to summon the young man to her. He 
enters, she rushes impulsively to him, greets him as the 
husband of her best friend and cleverly invents an excuse 
for their meeting. The man accepts the situation, falls in 
with the story, parries the questions and apparently enjoys 
the tete-a-tete. Ruth skilfully introduces the subject of the 
memorial fund and gleans enough from his conversation to 
furnish ample material for her article. As they finish their 
tea, and there is no further excuse for lingering, her duplic- 
ity overwhelms her and she confesses the scheme by which 
she has forced the information which she wished. - To her 
surprise he takes the confession calmly, declares that he has 
from the first been aware of her identity and that he has 
given her the desired news freely and gladly as a poor re- 
turn for the enjoyment of the chat. The interview ends 
with a friendly handshake over the teacups. 



HER FIRST SCOOP 



CHARACTERS AND COSTUMES. 

Ruth and Madge — Bright, clever, up-to-date young 
women. They wear simple street gowns, plain hats and 
long raincoats. Ruth's hat has a drenched and drooping 
feather. 

Maggie — Conventional maid's costume. 

Stanley — Courteous, alert, with a keen sense of humor. 
He wears a plain, dark suit, slouch hat and raincoat. 



PROPERTIES. 

Buffet with silver, glass, etc. Rack for hats and coats. 
Three small tables. Six straight chairs. Silver, napkins, 
lunch cloths, menu cards, flowers, etc., for tables. Muslin 
curtains for window. Gloves, watch and raincoat for 
Madge. Umbrella, coat and rubbers for Ruth. Hat and 
raincoat for Stanley. Check blanks, tray with cups, saucers, 
muffins, marmalade, teapot, sugar and cream for Maggie. 



Scene Plot. 



Window 



I 1 -^j^ Archway 

Buffet Table Rack "^ 



I 

Door Chair □ () D Chair Table 

T Chairn 0°Chalr ^'"'^ ° Oc?al\ 

STAGE DIRECTIONS. 

R. means right of the stage ; C, center ; R. C, right cen- 
ter; L., left; U. E., upper entrance; Z), F., door in flat or 
scene running across the back of the stage ; up stage, away 
from footlights ; down stage, near footlights. The actor is 
supposed to be facing the audience. 



HER FIRST SCOOP 



Scene: One end of tea room. Archway at L. U. E, 
leading to room beyond. Practical door dozvn R. Long, 
>lozv windozv C. in F. imth dainty sash curtains. Small, 
tables dozvn C. at L. 2 E. and at R. 2 E. Rack for hats 
and coats L. of C. in F. Serving buffet R. of C. in F. zvith 
silver, glass, etc. Tzi^o straight chairs at each table. Each 
table is set zinth lunch cloth, napkins, silver, menu card, 
flozvers, etc. Center table in addition bears small teapot, 
cup and saucer, plate, cream, sugar, etc. On the rack L. 
of C. in F. there hangs a long raincoat. 

Curtain rises on Madge, seated R. of central table and 
Maggie, busying herself at the buffet. Stage is zvell illu- 
minated, since it is afternoon. 

Madge {putting on her gloves). Give me my check, Mag- 
gie, and I'll be on my way. 

Maggie (glancing out the zvindozv). It's a pretty watery 
way, Miss Madge. 

Madge. Still raining? 

Maggie. Cats and dogs. {Anxiously.) Shall I call you 
a taxi ? 

Madge {smiling). Hardly. Taxis are not for hard-work- 
ing reporters, Maggie. If a second flood were upon the 
world, and the rest of you were hurrying to a safe Mount 
Ararat, duty would force me to keep pencil and paper above 
the billows in order to prepare for a possible extra. 

Maggie. How you do put things, Miss Madge. {Pre- 
pares check and lays it on table.) 

Madge {taking up check). The journalistic path, Maggie, 
seldom blossoms the proverbial rose. On a day like this I 
am easily persuaded that a handful of thistles is mine for 
the grasping. 

Maggie {sympathetically). Hasn't today's work been 
pleasant ? 



6 HER FIRST SCOOP 

Madge (carelessly). Oh, pleasant enough, I suppose. 
I've been interviewing a theatrical star. 

Maggie (excitedly). Not really? 

Madge. Oh, yes. (Teasingly.) I suppose you think 
that her twinkle is enough to make a rift in any raincloud. 

Maggie (rapturously). Af(7a/star! 

Madge. All that twinkle are not stars, Maggie — to be 
quite blunt and commonplace. 

Maggie (anxiously). Oh, Miss Madge, you don't mean — 

Madge (laughing as she interrupts). Far be it from me 
to knock the pedestal from under the popular idol. When 
the public devours my perfectly constructed interview in 
tomorrow's paper, there will be no trace of the lady's double 
negatives, mixed verb tenses and merciless assault upon the 
structure of English grammar. 

Ruth enters L. U. E. and stands in archzvay. Her coat 
bears evidence of the storm, the feather in her hat droops 
forlornly. 

Madge. Well, whom have we here? (Rises.) 

Ruth (extending a dripping umbrella). Niobe, dripping 
with the tears of an unfriendly heaven. 

Maggie (rushing forward and taking the umbrella). 
Why, Miss Ruth ! 

Madge (crossing to Ruth and seizing her arm). You're 
soaked ! (Removes the coat and hands it to Maggie.) Here, 
Maggie, hang this by a friendly fire. (To Ruth.) Take off 
those rubbers. (Ruth obeys and Maggie takes them.) 

Ruth (as Madge attempts to remove her hat). Please 
don't take my hat. (Gently pushes her azsjay.) The feather 
is so symbolical of myself — pathetically apathetic, apathet- 
ically pathetic and swayed by each blast of the editorial 
scorn. (Maggie zmth coat and rubbers exits at R.) 

Madge (scoldingly). Pretty fix for a girl just over grippe- 
Why are you out in this beastly weather? (Pulls out chair 
L. of table at C. and motions her to it.) 

Ruth (pausing by the windozv and looking out). Rain 
plashing — thunder crashing — lightning flashing! Just the 



HER FIRST SCOOP 7 

kind of a day that the forlorn heroine is thrust out into the 
cold, cold world. 

Madge (mipatiently) . You talk like a penny edition. 
Come, sit down. 

Ruth (as she seats herself). Penny edition ! You're just 
right. Maybe the rest of you can sell for five cents, but 
I'm not worth the conventional copper. 

Madge (as she sits R. of table). Something's gone to 
your head. 

Ruth. No ; to my feet, Madge — to my feet. They're so 
heavy I can scarcely raise them. 

Madge. Then why do you venture out in a drenching 
rairt? 

Ruth (patiently) . For a five-cent edition, Madge, you 
do ask such silly questions. Why shouldn't I be out? Even 
if I haven't reached your round in the reportorial ladder, 
I'm on the payroll. 

Madge. But my dear! Can't the society items be gleaned 
by use of the telephone? And a possible function be reached 
by a convenient street car? 

Ruth (gravely gazing at an extended foot). These feet, 
Madge, have been sacrificed to no unworthy quest. They 
have been soaked, battered and bruised in a search for The 
Unattainable ! 

Madge. But— 

Ruth (interrupting). But me no buts — suggest me no 
taxis. AAHien one pursues The Unattainable she must wear- 
ily follow in his wake, persistently dog his footsteps and 
uncomplainingly wear out shoe leather in a frenzied effort 
to keep pace. 

Madge. The emphasis placed upon the masculine pro- 
noun and the frequency of its use lead me to believe that 
there's a man in the case. 

Ruth (moekirigly). "Oh, wise young judge!" 

Madge (complacently). So let's have the story. 

Enter Maggie from R. She comes directly to the table 
and gathers up the teapot, cup, saucer, etc. 



8 HER FIRST SCOOP 

Maggie, Your coat is drying beautifully, Miss Ruth. 
Now can't I bring you some tea ? 

Ruth. Oh, if you will, Maggie. Make it piping hot. 
(Maggie starts to R.) And Maggie! (Maggie turns.) 
Some English muffins, too. (Maggie nods and again starts 
to R.) And — oh, Maggie! (Maggie turns.) Might I have 
some marmalade? 

Maggie. A whole jar of it. Miss Ruth, (Exit R.) 

Ruth (sighing). Now that's better. I begin to revive. 

Madge (abruptly). Who is the man? 

Ruth (in pretended perplexity). The mavif Oh, yes; the 
man. 

Madge. There is a man, I believe you said. 

Ruth. You said so, my dear. 

Madge. Well, isn't there ? 

Ruth. I'm not quite sure. I can't get near enough to 
find out. 

Madge. You haven't been pursuing him ? 

Ruth. Certainly. 

M adge ( in h o rro r). R u tli ! 

Ruth, But he's The Unattainable. Isn't it quite cus- 
tomary and conventional to pursue The Unattainable? 

Madge (sternly). Suppose you tell your story, Ruth — 
and tell it straight. 

Ruth. Well, then, the man is Stanley Lee. 

Madge (in surprise). Stanley Lee? 

Ruth (complacently). The Stanley Lee.' 

Madge. You mean that — (hesitates). 

Ruth. I have been chosen to interview him? Yes. 

Madge. How ridiculous! 

Ruth. Your surprise is hardly flattering. 

Madge. It isn't surprise, my dear ; it's amazement that 
so great a task has been placed upon your inexperienced 
shoulders. 

Ruth. Experienced shoulders were not forthcoming. 
The assignment Vv^as Miss Babcock's, but a sudden headache 
laid her low and when the news of her collapse reached the 
office I was the only available substitute. 



HER FIRST SCOOP 9 

Madge. Most of us would have balked at the job. 

Ruth. Not I. I kept saying to myself, "It's my chance 
— it's my chance!" (After a moment.) And now — I've 
failed! 

Madge (comfortingly). My dear, you're not alone in 
your failure. An interview with a Lee would indeed be a 
bright star in the crown of any ambitious journalist. 

Ruth. Are these Lees just millionaires? 

Madge. Just millionaires ! How scornfully you put it. 

RuTPi. I mean, have they done anything but get rich? 

Madge (thoughtfully). No-o, I don't believe so. 

Ruth. Then why does such, mystery surround them? 

Madge. As far as I can see, any mystery is due to the 
fact that father and son have steadfastly refused to be in- 
terviewed upon any subject whatever. Doubtless, family 
tradition holds that greatness of isolation is preferable to 
greatness through publicity. 

Ruth. Tell me something about the family itself. 

Madge. There's little to tell. John Lee, the father, spent 
his boyhood in this city, but later moved to New York, 
where he amassed his millions, centered his interests and — 
incidentally — died. Seemingly he severed all connection 
with the home of his youth. So you may imagine the con- 
sternation of our good citizens when they read in the will 
of the magnate that a certain sum was to be bestowed upon 
this particular community, for the purpose of a memorial. 

Ruth (scornfully) . A memorial! Is it to be a life size 
statue in the public square, a marble shaft in the cemetery, 
or a drinking fountain in the park? 

Madge. That, my dear, was for you to find out ; for the 
son is guardian of the memorial fund with full power to 
dispose of it. Doubtless he is here for the purpose of re- 
vealing his intentions. 

Ruth (impatiently). Then why on earth won't he be 
interviewed? Any investment of the fund must be made 
public sooner or later. This aloofness is the most ridicu- 
lous thing I ever heard of. 



10 HER FIRST SCOOP 

Madge {jokingly). How does he know that the fund will 
be the sole subject of the interview? He may fear that he 
will be asked to discuss the latest fashions, the political situ- 
ation or the suffrage question. 

Ruth. Don't be silly, Madge. 

Madge. Or perhaps he is afraid — and justly so — that the 
interviewer may be middle-aged, severely clad — and cross- 
eyed. 

Ruth. That should be no excuse for avoiding the press. 

Madge. Oh, but it is. To pour out one's heart to such 
a vision would be a mere waste of good ammunition. (Sud- 
denly.) Then, again, the fellow may be like his father — 
cross and crotchety. 

Ruth. Oh, no, he isn't. (Sighs.) He's — heavenly. 

Madge (suspiciously) . I thought you hadn't met him. 

Ruth. I've only seen him, for one may be given a vision 
of The Unattainable even if she is denied the real presence 
thereof. 

Madge (decisively) . Tell me just what you've done in 
regard to this interview. 

Ruth. And confess what I haven't done? Well, first, I 
braved the lion in his hotel den and sent up my card with 
"Morning Star" in the corner. 

Madge (shaking her head). Bad move, my dear. The 
name of your paper was a dead give away. A reporter's 
chief asset is stratagem. 

Ruth (resignedly). Evidently. For I was politely in- 
formed that Mr. Lee was too busy for an interview. After 
a becoming interval, I telephoned, hoping that my dulcet 
tones would soothe the savage breast. Nothing doing. The 
tones in which he answered me were just as dulcet as my 
own, but they were final. 

Madge. Blow number two ! Did you have the strength 
for a third encounter? 

Ruth. The spirit was willing but the flesh was weak. I 
hung around the hotel lobby, bribed the clerk to point out 
the Desired One and planned an ambush. The Desired One 
came — I saw — and he conquered as far as I was concerned. 



HER FIRST SCOOP 11 

I didn't have the nerve to accost him Madge, he was too 
good looking. 

Madge (sarcastically). If I may be allowed an observa- 
tion, Ruth, nerz'e is a second attribute of a reporter. 

RuTii. Don't I know it? But even if I possessed it in 
maximum degree, what could I have done in this rainy day 
rig? Why, he wouldn't have looked at me. {Leaning for- 
ivard.) If / may be allowed an observation, Madge, raiment 
is a z'ery necessary attribute of a reporter when a man is 
concerned. 

Madge. Why didn't you faint at his feet? 

Ruth (disdainfully touching her feather). With this 
feather? Not much. Anyway, one of the bellboys would 
have picked me up and he would have gone blithely on his 
way — uninterviewed ! 

Madge. So that ends your story. 

Ruth. Oh, no. The first exercise in my childhood copy 
book was "Try, try again," and I've always felt it my duty 
to live up to it. I dogged the footsteps of The Unattainable 
to a taxi, recklessly hailed a similar vehicle and followed 
my victim — for all the world like Sherlock Holmes. As a 
reward for my persistency and extravagance I saw him dis- 
appear into the sacred precincts of the Kennicott Club. 
Even the boldest of reporters does not enter this region. 
So I took up vigil by a neighboring lamp-post. 

Madge (in horror). Ruth! You didn't! And just over 
grippe. Why didn't you think? 

Ruth. The only kind of grippe I thought of, my dear, 
was the very material kind which. — metaphorically speak- 
ing — would draw The Unattainable to me. 

Madge. And you waited ? 

Ruth. I waited — alone with the elements. Sounds ro- 
mantic, doesn't it? While The Unattainable smoked, read 
and did all the customary stunts that Unattainables indulge 
In, quite unconscious of the Peri at the gates. 

Madge. How long did you wait? 

Ruth. Centuries, I think. Maybe it was about two 
hours. At last he emerged ; so I wearily tracked him to the 



12 HER FIRST SCOOP 

hotel and played my last trump, which proved to be a two- 
spot. I sent up another card, this time without the tell-tale 
''Morning- Star," trusting that he would forget the earlier 
appearance of the selfsame name and would imagine the 
caller some old friend of his mother who — (hesitates for a 
moment) well, he didn't. 

Madge (sympathetically). Poor child! 

Ruth. But that isn't the worst. I've saved the real blow 
till the last. When he came out of the club, who do you 
suppose was with him? (Impressively.) John Hall of the 
"Evening Sun." That means I'm beaten; that the triumph 
of interviewing the uninterviewable belongs to the rival 
paper. 

Madge (indignantly). You shouldn't have been given 
the assignment. 

Ruth. Oh, yes, I should. I can write, if I do say it, as 
shouldn't, and I am capable of far more than trivial chron- 
icles of pink teas and inane descriptions of other women's 
clothes. 

Madge. I don't doubt it. But— 

Ruth (suddenly). Madge, is everybody forced to so- 
journ in the purgatory of the social column before she 
reaches the journalistic paradise? 

Madge. That depends — 

Ruth (quickly). Upon chance, doesn't it? (Seriously.) 
V\^ell, this was my chance — and it's gone forever. If I — 
first of all — could have interviewed him; if I could have 
forestalled the other paper, it would have been a scoop, a 
real scoop — my first scoop ! It would have meant promo- 
tion ; it would have given me — 

Madge (rising). Many things, of course. (Cheerfidly.) 
But, never mind ; the opportunity will come again, and will 
be all the better for the delay. (Glances at watch.) I must 
be off. 

Ruth (pleadingly) . Oh, wait for me. I won't be long, 
for I'm due at Marsh's pretty soon. 

Madge. Marsh's? 



HER FIRST SCOOP 13 

Ruth. Of course. The store is having its spring mil- 
linery opening. Pretty weather for openings, isn't it? 

Madge (positively). You're going directly home from 
here, Ruth King. 

Ruth. Of course I'm not. Having failed my big as- 
signment, do you think I'll neglect my daily duty and lose 
my daily bread ? 

Madge. I'll write up the opening for you. I'm going 
that way. 

Ruth (laughing). Fom. describe those hats ? Oh, Madge, 
3^ou're funny! Please don't mind my laughing; but it's just 
like asking a football man to play croquet. 

Madge. Your simile is ill chosen, fair maid. Even if I 
do fall heir to some heavy write-ups, there's enough of the 
eternal feminine left to manage a millinery opening, and to 
manage it successfully. 

Ruth (eagerly). Then you really mean it? (Rises.) 
Bless you, Madge. I can't begin to tell you how grateful I 
am. In my present state of mind, all hats would look to 
me just like — (grasping feather) this feather! 

Madge (critically). Then it's much better for you to 
shift the responsibility to me. (Knits her brow.) Let's 
see. How do I begin the thing? 

Ruth. Something like this. (Recites mechanically.) 
Outside there were dark and lowering clouds ; inside, spring 
flowers reigned supreme and nodded in contentment from 
the Parisian creations destined to adorn the fairest maids 
and matrons of our city. 

Madge (disgustedly) . What stufif! 

Ruth. But the dear public likes it. 

Madge. Give me a few technical phrases. 

Ruth (thoughtfully). Well, "ravishing creation" is al- 
ways good ; "effective combination" is a close second ; 
"breath of Paris" always makes a hit; and you can't use 
"smart," "chic" and "attractive" too many times. 

Madge (mozing to L. U. E.). Great heavens! (Takes 
coat from rack and puts it on.) 



14 HER FIRST SCOOP 

Ruth. And, Madge, if some particular chapeau is in- 
describably ugly, put it down as "a thought and a hatpin." 
That's safe, and leaves much to the imagination. 

Madge. And proves my former statement that a re- 
porter's chief asset is stratagem. (Exit L. U . E., then looks 
in again.) Stratagem, Ruth, stratagem! (Exit L. U. E.) 

Ruth goes to zmndoiv and gazes out pensii ely. Enter 
Maggie at R. zvith tray of tea, muffins, marmalade, etc. 

Maggie (as she arranges articles on table at C). Here 
you are, Miss Ruth — muffins, marmalade and all. 

Ruth (still gazing ont windozv). You don't know how 
good that sounds to me. For as I stood in the rain today 
I would have given half my kingdom for one of these big, 
brown, crisp, buttered — (lier voice trails into nothingness 
and she seems fascinated by some unusual sight outside the 
zvindozv.) 

Maggie (still busy). Yes? (No response, Maggie 
glances up quickly.) Why, Miss Ruth, what is it? 

Ruth (regaining her composure). Nothing. At least — 
well — I just happened to see — a friend — outside. (Sud- 
denly.) Maggie, will you do something for me? 

Maggie. You know I will, Miss Ruth. 

Ruth (excitedly). Then, come here! (Maggie hurries 
to zvindozv.) And look! (Points.) Do you see the tall man 
with the slouch hat over there? He's just coming away from 
the window. 

yiAGGi^ (equally excited). Yes — oh, yes! (As she gazes.) 
Isn't — he — perfectly — splendid ? 

Ruth (turning from zvindozv). Now, Maggie, listen. 
You are to rush out to the door, wave your arms — so — 
(illustrating, Maggie imitates) and attract his attention. 
When he looks at you, you're to beckon wildly — so — (Mag- 
gie imitates her gesture) just as if someone were in dread- 
ful danger. Probably he'll tear madly across the street, and 
as he reaches you you must say — rather breathlessly, ''She's 
waiting." (Maggie nods.) And then vou're to usher him 
in here (as she pushes Maggie tozvard L. U. E.), while 
I do the rest! 



HER FIRST SCOOP " 15 

Maggie {Hirning at L. U. E/). It's just like a play, Miss 
Ruth! (Exit.) 

Ruth. A play! I wonder if it will be tragedy — comedy 
— or farce! (Stands irresolute.) Madge said to use strata- 
gem. Well — {as she shrugs her shoulders) so be it! {Gazes 
out zvindow.) He sees her — he's coming! {Comes down C. 
to front of stage, looks nervously around.) Now you've done 
it, Ruth King, you've done it! 

Enter Maggie L. U. E., followed by Stanley Lee. She 
stands aside. 

Maggie. In here, sir. (Ruth turns, smiles brightly and 
hurries to Stanley with both hands outstretched. He looks 
bewildered, but meets her half way and greets her cordially.) 

Ruth {after they have shaken hands). And to think that 
I might have lost you! If I hadn't been looking out of the 
window that very moment you probably would have gone 
right by. {As he endeavors to speak. )^ Yes, I know this 
tea-room is off the shopping thoroughfare, but I thought it 
would be all the nicer and cozier on that account, and that 
we could have a real visit together. {Moves tozvard table 
at C. and motions him to chair L. of table.) There's your 
place — and {turning) Maggie! Another cup and saucer, 
please. (Maggie hurries to buffet and places another cup 
and saucer on table. Stanley hangs his coat and hat on 
rack and quickly returns to table.) You see, I had really 
just about given yoii up and had resigned myself to a solitary 
cup of tea. {She is about to dvazi' out chair R. of table 
Ziehen he springs forzmrd and does it for her. She seats 
herself and smiles archly up at him.) Thank you! (As he 
seats himself opposite.) And it would have been such a dis- 
appointment not to meet you — and to know you — after I'd 
counted so much on it. When Julie telephoned this morning 
that she couldn't come, I was positively sick about it, but 
when she added that you would keep the appointment just 
the same, life brightened. {To Maggie, zvho has been zvait- 
Ing.) That will do, Maggie. I'll call you if we wish any- 
thing else. {Exit Maggie, R.) Really, it's awfully good of 



16 • HER FIRST SCOOP 

you to come and to bore yourself with me just because I'm 
your wife's best friend. 

Stanley. I'm beginning to think that it's awfully jolly 
to have the opportunity. 

Ruth. Just think! You and Julie have been married six 
months. I can't realize it. 

Stanley. It's hard — very hard — for me to realize it. 

Ruth (leaning over table). I should never have recog- 
nized you from the picture Julie sent. 

Stanley. Just how did you recognize me, anyway? 

Ruth {confused). Why — I — well — I just kneiu you, 
that's all. 

Stanley. Woman's intuition. I suppose the picture flat- 
tered. 

Ruth. I'm not saying. Anyway, it was only a snapshot. 

Stanley. Snapshots aren't particularly reliable as a 
means of tracing undiscovered husbands. 

Ruth (laughing). Undiscovered no longer. Shall we 
drink to this mutual recognition — with a cup of tea? (Pours 
tea.) 

Stanley (as he watches her). I say. This is regularly 
jolly. 

Ruth. Isn't it, though ! (Takes sugar bozvl.) How many 
lumps ? 

Stanley. Two. Julie asked me that same question on 
our wedding journey-— and it told the whole story. After 
that, fate marked us for her particular bride and groom. 

Ruth (nervously). Oh! Your wedding journey! Not 
really! You don't mean that. (Hesitates.) 

Stanley. Mean what? (In her confusion Ruth drops 
three lumps of sugar in his cup. He catches her hand. J 
Look here ; that's three lumps already. I don't need sweet- 
ening to that extent. (Releases her hand and looks laugh- 
ingly at her.) 

Ruth (fishing out a lump). I don't believe you need it at 
all. (Hastily.) Of course I draw my conclusions from 
what Julie has said. 



HER FIRST SCOOP 17 

Stanley. The prattle of a six months' bride isn't always 
authentic. 

Ruth {indicating) . Here are muffins. There is marma- 
lade. Help yourself. 

Stanley {suiting the action to the zuord). Still a muffin 
fiend, aren't you ? And is this the same brand of marmalade 
that used to adorn your college room ? 

Ruth {in surprise). Now — how did you know that? 

Stanley. Julie told me, of course. 

Ruth. Juliet 

Stanley. Isn't it the natural thing for her to talk about 
her best friend? I'd know you just from her description. 
Only last night she said, ''Ruth's eyes have the most impish 
twinkle" — 

Ruth {zvildly). Ruth! Ruth! 

Stanley {in affected surprise). Isn't that your name? 

Ruth {composing herself). Why — of course — only — 

Stanley. Aren't you going to let your best friend's hus- 
band have the fun of calling you — {softly) Ruth ? 

Ruth. I'd be very silly not to want him to do it. And 
isn't he going to let his wife's best friend have the fun of 
calling him — {hesitates) 

Stanley {quickly). Jack. Say it, please. 

Ruth {off her guard). Jack! That isn't your name — 
{confusedly) at least, oh, I didn't mean that. 

Stanley. John is my first name. Julie always calls me 
Jack. How strange you didn't know ! 

Ruth {airily). Not strange at all. She usually refers to 
you in — well, endearing phrases. 

Stanley. Do you think I'm w^orth. them? 

Ruth. How can I answer such a question? If I say yes, 
you'll think — well, never mind what you'll think. If I say 
no, yoi! won't like it. {Sighs.) Men are such exacting 
creatures ! 

Stanley. And women are so designing! 

Ruth. Now stop, for in a moment w^e'll be arguing, and 
an argument upon first acquaintance is fatal. Tell me in- 
stead about the new home. 



18 HER FIRST SCOOP 

Stanley (blankly). The new home? Oh, yes — the new 
home. Well — it's new — for one thing. 

Ruth (mockingly). What a lucid description! I can 
just see it. Anyway, it's near enough for Julie to come to 
the city for her shopping. 

Stanley (eagerly). And for you to spend an occasional 
week-end with us. 

Ruth (severely) . Are you so enthusiastic and hospitable 
to all of Julie's friends? 

Stanley (grinning). No — just to you. 

Ruth (hastily). And is the new car satisfactory? 

Stanley. Corking. If the roads had been good, I should 
have swept majestically into your nice little city and would 
have been hailed as a personage. 

Ruth. One personage a day is enough (after a moment), 
Jack! 

Stanley. What do you mean by that (after a moment), 
Ruth ? 

Ruth. Haven't you heard that the great and omnipotent 
Lee is in our midst? 

Stanley. Who's he ? 

Ruth (mockingly). "Not to know him argues yourself 
unknown !" 

Stanley (suddenly). You don't happen to mean Stanley 
Lee? 

Ruth. Who else? 

Stanley. Oh, come now ! He's not great and omnipo- 
tent. It isn't fair to impose that sentence upon the man 
when he isn't guilty. 

Ruth. How do you know he isn't? 

Stanley. Because. 

Ruth. That's a woman's reason. Be original. 

Stanley. Well — he happens to be my best frien'd. 

Ruth (in surp rise ) . Wh atf 

Stanley. My room-mate at college. (Insinuatingly.) 
Didn't Julie tell you ? 

Ruth (coolly). Julie may be excused for omitting a few 
details of your past history. 



HER FIRST SCOOP 19 

Stanley. He was my best man. Didn't Julie tell you 
that? 

Ruth {pondering) . Why, of course. It had just sHpped 
my mind. 

Stanley. So, you see, I know him about as well as I 
know myself. 

Ruth. Terribly good-looking, isn't he? 

Stanley {off his guard). Not at all. 

Ruth. Exceedingly clever? 

Stanley. Not a bit of it. 

Ruth. Disgustingly rich? 

Stanley. He can't help that. 

Ruth. My! For a best friend you are certainly uncom- 
plifnentary. Sounds like one woman describing another. 

Stanley. I'm defending him. All this poppycock stuff 
about his millions is his particular abomination. Why, he's 
as simple in his tastes as I am. 

Ruth. Simple enough to partake of muffins and marma- 
lade? 

Stanley (fervently). He'd love it! 

Ruth. With a girl in a dilapidated feather? 

Stanley. He wouldn't even look at the feather. He'd 
see only the girl {softly), as I do. 

Ruth {nervously). How perfectly ridiculous of him. 
Let me pour you some tea. {As she pours.) Too bad you 
haven't run across him today. {Hands him his cup and 
saucer.) 

Stanley {calmly). Oh, I have. We lunched together at 
the club. 

Ruth. Really! Did he reveal the purpose of his visit 
here ? 

Stanley. Oh, yes. His father lived here as a boy, you 
know, and always had a real affection for the place. 

Ruth. That isn't why he came, is it? 

Stanley. Not altogether. Mr. Lee, in his will, left a 
large sum to the city, and Stan Is to use it as he sees best. 

Ruth {trying not to be excited). Has he decided what 
to do with the money? 



20 HER FIRST SCOOP 

Stanley. Not yet. He is quite open to suggestions. 

Ruth. Perhaps a statue of his father for the pubHc 
square would solve the difficulty. 

Stanley (emphatically) . Hardly. Mr. Lee was not the 
man to seek publicity. 

Ruth (quickly). Even through a newspaper. Why was it? 

Stanley. Excessive modesty for one thing, and a loath- 
ing of the press, due to several gross misrepresentations. 

Ruth. Oh, I see. 

Stanley. His many charities were unchronicled. He 
gave lavishly, but quietly. 

Ruth. Will the son do likewise? 

Stanley. To the best of his ability. He's a bit of a so- 
cialist and is eager to share his inheritance. 

Ruth. Has he been interviewed — by the two rival papers ? 

Stanley. No, he refused. Due to an inherited dislike 
of newspaper notoriety. 

Ruth (eagerly). You mean that he has not confided his 
plans to either paper? 

Stanley. I certainly do. Even an old college friend, 
who is on the ''Evening Sun," had no influence. 

Ruth (Jialf rising). You're sure of this? 

Stanley (in surprise). Why, of course I'm sure of it. 
What's the matter? 

Ruth (subsiding). Nothing — why, nothing. What put 
that in your head? 

Stanley (suspiciously). You seem pretty interested in 
Stanley Lee. 

Ruth. I'm not! I'm simply thrilled by the fact that he 
intends to leave some of his perfectly good money in this 
city. (After a moment, zmth forced indifference.) Haven't 
3^ou an idea of what he intends to do with the bequest ? 

Stanley. Not the slightest. Neither has he. 

Ruth (impidsivel\) . I wish / had the disposal of it! 

Stanley. What would you do? 

Ruth (enthusiastically) . First, I'd build a children's hos- 
pital — a big, bright, beautiful place where poor little waifs 
could be cared for, comforted and cured ; where they could 



HER FIRST SCOOP 21 

be made so well an-d strong that they would start in life 
equipped, at least, with the blessing of health. I can imag- 
ine nothing more beautiful than that. 

Stanley (matching her). Nor can I. 

Ruth. And then I'd found a scholarship in one college 
for some worthy fellow who craves an education and hasn't 
the money to satisfy the desire. 

Stanley {thoughtfully). That would have appealed to 
Mr. Lee. He was a poor boy himself and never had the 
training which would have meant so much to him. 

Ruth. And then — (pauses). 

Stanley (eagerly). And then? 

Ruth (mischievously). I'd put a coat of paint on the 
roof of the City Park Pavilion. It needs it. (He gazes 
abstractedly at her zvithout saniling.) Dear me ! Have I said 
something that I shouldn't? 

Stanley. Hardly. 

Ruth. You look so — well, intense. 

Stanley. I am thinking that, after all, Fate is respon- 
sible for our meeting. 

Ruth (nervously). Nonsense. A two-cent stamp and 
being Julie's best friend did the deed. 

Stanley. Let's leave Julie quite out of the question — 
for the time being. 

Ruth. How can we? She's a sort of missing link. Any- 
way, I don't want to leave her out of the question. 

Stanley. What we have to say concerns John Stanley 
Lee. 

Ruth. John Stanley Lee? 

Stanley. Quite so. He's sometimes called — Jack. 

Ruth. How — how interesting! 

Stanley. Yes, isn't it ? Julie calls him Jack. 

Ruth. But why should we talk of Mr. Lee? It seems 
that we've already discussed him quite thoroughly. 

Stanley. Almost thoroughly enough to make a para- 
graph in tomorrow's paper. 

Ruth. What — what do you mean by that? 



22 HER FIRST SCOOP 

Stanley (ijinocently) . Why, nothing. Why should I? 
JuHe says — 

Ruth (impatiently). Oh, let's leave Julie out o>f the 
question ! 

Stanley. Agreed. (After a moment.) I wonder if you 
know of what inestimable value you have been to Stanley 
Lee. 

Ruth. I'm afraid I don't. 

Stanley. You've helped him solve a difficult problem. 

Ruth. Really — I don't understand. 

Stanley. The disposition of the memorial fund has 
worried him. He wants to be sure that any decision he may 
make is the right one. When I tell him of your suggestion 
of the children's hospital — 

Ruth (interrupting). Wait — please — 

Stanley (ignoring the interruption) . And the scholar- 
ship, he will see an end of his troubles. 

Ruth. I am very sure that what I said — impulsively — 
can in no way affect Mr. Lee's plans. 

Stanley. Oh, but I know it can! 

Ruth. Then I am forced to say that I do not care to be 
quoted — nor to be mentioned to your friend. 

Stanley. Oh, come, now. 

Ruth. Oh, I mean it. 

Stanley. Why should you take such a stand? What 
possible offence could there be in my repeating the little in- 
terview which we have had? 

Ruth. The mere fact that I don't want it repeated is 
answer enough. 

Stanley (thoughtfully) . Oh, I see. You feel about this 
just as Lee does about newspaper notoriety. 

Ruth (icily). I cannot see that the two cases are parallel. 

Stanley. Perhaps not. (Chuckles.) Anyway, old Stan 
will have a chance to make his statement to the city officials 
before the diabolical papers get hold of it. 

Ruth (rising). Mr. Lee, I've a confession to make. (As 
Stanley rises in apparent surprise.) Oh, yes, I know who 
you are. I've known ever since I spied you from the win- 



HER FIRST SCOOP 23 

dow and called you in, inventing my story as I went along. 
(As he attempts to speak.) You followed my lead cleverly 
— too cleverly for me to keep up — for you even guessed my 
name. You have doubtless enjoyed the role into which I 
thrust you, hut— {with an effort) I am a reporter on the 
"Morning Star," Mr. Lee, and all day I have tried — vainly — 
to have an interview with you. When I saw you from the 
window, it seemed my opportunity, and I seized it, trusting 
that my wits and your possible interest in the following up 
of the situation would give me such information as could 
be woven into a newspaper story. 

Stanley. Won't you let me — 

'R.VTK {interrupting). Wait. It was a despicable thing to 
do — oh, I see it now — but I did so want to succeed. For it 
meant — so much to me. You've never been on the staff of 
a daily paper, have you ? {Stanley shakes his head.) Then 
you do not know how a struggling journalist longs for a 
^'scoop." {He attempes to speak.) Please let me say one 
more word — just this. I shall not make copy of our inter- 
view this afternoQn. I'm ashamed of my duplicity. 

Stanley. My dear Miss King — 

Ruth {starting). You know my name? 

Stanley. I've known — yoit — since I entered this room. 
My reporter friend on the rival paper pointed you out as 
we came from the club. I recognized your name as the one 
which had been on the card sent up to me, and when you 
called me — here — I understood immediately just why it was. 

Ruth. My humiliation is quite complete. 

Stanley. I should have declared the mistaken identity, 
I suppose, but the temptation was great, and I longed to 
play the part you had given me. {After a moment.) Will 
you forgive me? 

Ruth {with downcast eyes). I — forgive? 

Stanley. I'll try to make amends; for all I've told you 
today is for you to handle as yau choose. I shall build a 
hospital and give a scholarship — and your paper shall be 
the first to announce it. I haven't meant to be boorish about 



24 HER FIRST SCOOP 

interviews. I only wished to be sure of my plans before 
confiding them to the press. 

Ruth. You are doing this — for pity. 

Stanley. Oh, no, I'm not. I'm doing it for two very 
selfish reasons. First, because I wish to be quoted correctly ; 
second, because I am grateful to you for the very pleas- 
antest afternoon I've had for many days, and (laughingly) 
to Julie for allowing me to be her temporary husband. 

Ruth. There really isn't any Julie. 

Stanley. I shall always be indebted to her, just the 
same. (He pauses.) Will you write the story? 

Ruth. Someway — I can't. 

Stanley. Please. It will be a feather in your cap. 

Ruth (laughingly) . Are you insinuating that I need an- 
other one? 

Stanley (coaxingly). Will you write the story — ior me? 

Ruth (suddenly). I will — and thank you! (Extends 
both hands. He takes them.) 

Stanley (retaining her hands). The last thing Julie said 
to me was, "You must take Ruth to dinner and — if she can 
spare the time — to the theater." (Ruth lowers her eyes hut 
makes no response.) Well? 

Ruth (looking steadfastly at him). That will be a lovely 
sequel to — (hesitates) 

Stanley (eagerly). To what? 

Ruth (laughingly) . My first scoop! 

Curtain. 



DENISON'S ACTING PLAYS 

Price 15 Cents Each, Postpaid, Unless Different Price Is Given 



M. F. 

Winning Widow, 2 acts, 1^ hrs. 

(25c) 2 4 

Women Who Did, 1 hr..,(25c) 17 

Yankee Detective, 3 acts, 2 hrs. 8 3 

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All on a Summer's Day, 40 min. 4 6 

April Fools, 30 min 3 

Assessor, The, 10 min 3 2 

Baby Show at Pineville, 20 min. 19 

Billy's Chorus Girl, 25 min... 2 3 

Billy's Mishap, 20 min 2 3 

Borrowed Luncheon, 20 min.. 5 

Borrowing Trouble, 20 min.... 3 5 
Case Against Casey, 40 min... 23 

Country Justice, 15 min 8 

Cow that Kicked Chicago, 20 m. 3 2 

Divided Attentions, 35 min 1 4 

Dude in a Cyclone, 20 min.... 4 2 

Family Strike, 20 min 3 3 

Tirst-Class Hotel, 20 min 4 

For Love and Honor, 20 min.. 2 1 

Fudge and a Burglar, 15 min.. 5 
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Great Pumpkin Case, 30 min.. 12 

Hans Von Smash, 30 min.... 4 3 

I'm Not Mesilf at All, 25 min. 3 2 
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Irish Linen Peddler, 40 min... 3 3 

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Kansas Immigrants, 20 min... 5 1 

Men Not Wanted, 30 min 8 

Mike Donovan's Courtship, 15 m. 1 3 

Mother Goose's Goslings, 30 m. 7 9 

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Mrs. Stubbins' Book Agent, 30 m. 3 2 

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Persecuted Dutchman, 30 min. 6 3 

Regular Fix, 35 min 6 4 

Second Childhood, 15 min.... 2 2 

Shadows, 35 min 2 2 

Sing a Song of Seniors, 30 min. 7 

Taking Father's Place, 30 min. 5 3 

Taming a Tiger, 30 min 3 

That Rascal Pat, 30 min 3 2 

Those Red Envelopes, 25 min. 4 4 
Too Much of a Good Thing, 45 

min 3 6 

Turn Him Out, 35 min 3 2 

Two Aunts and a Photo, 20 m. 4 
Two Gentlemen in a Fix, 15 m. 2 

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Uncle Dick's Mistake, 20 min.. 3 2 

Wanted a Correspondent, 45 m. 4 4 

Wanted a Hero. 20 min 1 1 



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Wrong Baby, 25 min 8 

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Ax'in' Her Father, 25 min.... 2 3 
Booster Club of Blackville, 25 m.lO 

Breakfast Food for Two, 20 m. 1 1 

Cold Finish, 15 min 2 1 

Colored Honeymoon, 25 min... 2 2 

Coon Creek Courtship, 15 min. 1 1 

Coming Champion, 20 min.... 2 
Coontown Thirteen Club, 25 m. 14 

Counterfeit Bills, 20 min 1 1 

Darktown Fire Brigade, 25 min. 10 

Doings of a Dude, 20 min.... 2^1 

Dutch Cocktail, 20 min 2 

For Reform, 20 min 4 

Fresh Timothy Hay, 20 min.. 2 1 

Glickman, the Glazier, 25 min. 1 1 

Good Momin' Judge, 35 min. . 9 2 

Her Hero, 20 min 1 1 

Hey, Rube! 15 min 1 

Home Run, 15 min 1 1 

Jumbo Jum, 30 min 4 3 

Little Red School House, 20 m. 4 

Love and Lather, 35 min 3 2 

Marriage and After, 10 min.. 1 

Memphis Mose, 25 min 5 1 

Mischievous Nigger, 25 min.. 4 2 

Mistaken Miss, 20 min 1 1 

Mr. and Mrs. Fido, 20 min 1 1 

Oh, Doctor! 30 min 6 2 

One Sweetheart for Two, 20 m. 2 

Oshkosh Next Week, 20 min . . 4 

Oyster Stew, 10 min 2 

Pete Yansen's Gurl's Moder, 10m. 1 

Pickles for Two, 15 min..... 2 

Pooh Bah of Peacetown, 35 min. 2 2 

Prof. Black's Funnygraph, 15 m. 6 

Sham Doctor, 10 min 4 2 

Si and I, 15 min 1 

Special Sale, 15 min 2 

Stage Struck Darky, 10 min.. 2 1 

Sunny Son of Italy, 15 min.. 1 

Time Table, 20 min 1 1 

Tramp and the Actress, 20 min. 1 1 

Troubled by Ghosts, 10 min... 4 

Troubles of Rozinski, 15 min.. 1 

Two Jay Detectives, 15 min.. 3 

Umbrella Mender, 15 min.... 2 

Uncle Jeflf, 25 min 5 2 

What Happened to Hannah, 15m. 1 1 



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